Wjcl Certamen 2016 Intermediate Division Round One
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Butterfly Checklist 08
Family Hesperiwidae (Skippers) Subfamily Hesperiinae (Grass Skippers) Subfamily Pyrginae (Spread-wing Skippers) ____Julia’s Skipper Nastra julia ____ Guava Skipper Phocides polbius ____Pale-rayed Skipper Vidius perigenes ____Mercurial Skipper Proteides mercurius ____Fawn-spotted Skipper Cymaenes odilia ____White-striped Longtail Chioides catillus ____Clouded Skipper Lerema accius ____Zilpa Longtail Chioides zilpa ____Orange Skipperling Copaeodes aurantiacia ____Long-tailed Skipper Urbanus proteus ____Southern Skipperling Copaeodes minima ____Teleus Longtail Urbanus teleus ____Fiery Skipper Hylephila phyleus ) ____Brown Longtail Urbanus procne ____Whirlabout Polites vibex ____ Dorantes Longtail Urbanus dorantes ____Southern Broken-Dash Wallengrenia otho ____Coyote Cloudywing Achalarus toxeus ____Sachem Atalopedes campestris ____Mimosa Skipper Cogia calchas ____Celia's Roadside-Skipper Amblyscirtes celia ____Potrillo Skipper Cabares potrillo ____Nysa Roadside-Skipper Amblyscirtes nyhsa ____Two-barred Flasher Astraptes fulgerator ____Dun Skipper Euphyes vestries ____Glazed Pellicia Pellicia arina ____Eufala Skipper Lerodea eufala ____Olive-clouded Skipper Lerodea arabus ____Mazans Scallopwing Staphylus mazans ____Texas Powdered Skipper Systasea pulverulenta ____Brazilian Skipper Calpodes ethlius ____Sickle-winged Skipper Eantis tamenund ____Obscure Skipper Panoquina panoquinoides ____Brown-banded Skipper Timochares ruptifasciatus ____Ocola Skipper Panoquina ocola ____White-patched Skipper Chiomara georgina ____Purple-washed Skipper Panoquina -
Hesiod Theogony.Pdf
Hesiod (8th or 7th c. BC, composed in Greek) The Homeric epics, the Iliad and the Odyssey, are probably slightly earlier than Hesiod’s two surviving poems, the Works and Days and the Theogony. Yet in many ways Hesiod is the more important author for the study of Greek mythology. While Homer treats cer- tain aspects of the saga of the Trojan War, he makes no attempt at treating myth more generally. He often includes short digressions and tantalizes us with hints of a broader tra- dition, but much of this remains obscure. Hesiod, by contrast, sought in his Theogony to give a connected account of the creation of the universe. For the study of myth he is im- portant precisely because his is the oldest surviving attempt to treat systematically the mythical tradition from the first gods down to the great heroes. Also unlike the legendary Homer, Hesiod is for us an historical figure and a real per- sonality. His Works and Days contains a great deal of autobiographical information, in- cluding his birthplace (Ascra in Boiotia), where his father had come from (Cyme in Asia Minor), and the name of his brother (Perses), with whom he had a dispute that was the inspiration for composing the Works and Days. His exact date cannot be determined with precision, but there is general agreement that he lived in the 8th century or perhaps the early 7th century BC. His life, therefore, was approximately contemporaneous with the beginning of alphabetic writing in the Greek world. Although we do not know whether Hesiod himself employed this new invention in composing his poems, we can be certain that it was soon used to record and pass them on. -
Cneve Tarchunies Rumach
Classica, Sao Paulo, 718: 101-1 10, 199411995 Cneve Tarchunies Rumach R.ROSS HOLLOWAY Center for Old World Archaeology and Art Brown University RESUMO: O objetivo do Autor neste artigo e realizar um leitura historica das pinturas da Tumba Francois em Vulci, detendo-se naquilo que elas podem elucidar a respeito da sequencia dos reis romanos do seculo VI a.C. PALAVRAS CHAVE: Tumba Francois; realeza romana; uintura mural. The earliest record in Roman history, if by history we mean the union of names with events, is preserved in the paintings of an Etruscan tomb: the Francois Tomb at Vulci. The discovery of the Francois Tomb took place in 1857. The paintings were subsequently removed from the walls and became part of the Torlonia Collection in Villa Albani where they remain to this day. The decoration of the tomb, like much Etruscan funeral art, draws on Greek heroic mythology. It also included a portrait of the owner, Vel Saties, and beside him the figure of a woman named Tanaquil, presumably his wife (this figure has become almost completely illegible). In view of the group of historical personages among the tomb paintings, this name has decided resonance with better known Tanaquil, in Roman tradition the wife of Tarquinius Priscus. The historical scene of the tomb consists of five pairs of figures drawn from Etruscan and Roman history. These begin with the scene (A) Mastarna (Macstma) freeing Caeles Vibenna (Caile Vipinas) from his bonds (fig.l). There follow four scenes in three of which an armed figure dispatches an unarmed man with his sword. -
Tages Against Jesus: Etruscan Religion in Late Roman Empire Dominique Briquel
Etruscan Studies Journal of the Etruscan Foundation Volume 10 Article 12 2007 Tages Against Jesus: Etruscan Religion in Late Roman Empire Dominique Briquel Follow this and additional works at: https://scholarworks.umass.edu/etruscan_studies Recommended Citation Briquel, Dominique (2007) "Tages Against Jesus: Etruscan Religion in Late Roman Empire," Etruscan Studies: Vol. 10 , Article 12. Available at: https://scholarworks.umass.edu/etruscan_studies/vol10/iss1/12 This Article is brought to you for free and open access by ScholarWorks@UMass Amherst. It has been accepted for inclusion in Etruscan Studies by an authorized editor of ScholarWorks@UMass Amherst. For more information, please contact [email protected]. Tages Against Jesus: Etruscan Religion in Late Roman Empire by Dominique Briquel t may seem strange to associate in this way two entities which, at first gLance, wouLd seem to have nothing in common. The civiLization of the Etruscans, which fLourished Iin ItaLy during the 1st miLLennium BC, was extinguished before the birth of Christianity, by which time Etruria had aLready been absorbed into the Larger Roman worLd in a process caLLed “Romanization.” 1 This process seems to have obLiterated the most characteristic traits of this autonomous cuLture of ancient Tuscany, a cuLture which may have been Kin to that of the Romans, but was not identicaL to it. As for Language, we can suppose that Etruscan, which is not Indo-European in origin and is therefore pro - foundLy different not onLy to Latin but to aLL other ItaLic diaLects, feLL out of use compLeteLy during the period of Augustus. One cannot, however, cLaim that aLL traces of ancient Etruria had disappeared by then. -
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1
MYTHOLOGY – ALL LEVELS Ohio Junior Classical League – 2012 1. This son of Zeus was the builder of the palaces on Mt. Olympus and the maker of Achilles’ armor. a. Apollo b. Dionysus c. Hephaestus d. Hermes 2. She was the first wife of Heracles; unfortunately, she was killed by Heracles in a fit of madness. a. Aethra b. Evadne c. Megara d. Penelope 3. He grew up as a fisherman and won fame for himself by slaying Medusa. a. Amphitryon b. Electryon c. Heracles d. Perseus 4. This girl was transformed into a sunflower after she was rejected by the Sun god. a. Arachne b. Clytie c. Leucothoe d. Myrrha 5. According to Hesiod, he was NOT a son of Cronus and Rhea. a. Brontes b. Hades c. Poseidon d. Zeus 6. He chose to die young but with great glory as opposed to dying in old age with no glory. a. Achilles b. Heracles c. Jason d. Perseus 7. This queen of the gods is often depicted as a jealous wife. a. Demeter b. Hera c. Hestia d. Thetis 8. This ruler of the Underworld had the least extra-marital affairs among the three brothers. a. Aeacus b. Hades c. Minos d. Rhadamanthys 9. He imprisoned his daughter because a prophesy said that her son would become his killer. a. Acrisius b. Heracles c. Perseus d. Theseus 10. He fled burning Troy on the shoulder of his son. a. Anchises b. Dardanus c. Laomedon d. Priam 11. He poked his eyes out after learning that he had married his own mother. -
Hammond2009.Pdf (13.01Mb)
Postgraduate Programmes in the SCHOOL of HISTORY, CLASSICS and ARCHAEOLOGY The Iconography of the Etruscan Haruspex Supervisor: Name: Sarah Hammond Dr Robert Leighton 2009 SCHOOL of HISTORY, CLASSICS and ARCHAEOLOGY DECLARATION OF OWN WORK This dissertation has been composed by Sarah Hammond a candidate of the MSc Programme in MScR, Archaeology, run by the School of History, Classics and Archaeology at the University of Edinburgh. The work it represents is my own, unless otherwise explicitly cited and credited in appropriate academic convention. I confirm that all this work is my own except where indicated, and that I have: Clearly referenced/listed all sources as appropriate Referenced and put in inverted commas all quoted text of more than three words (from books, web, etc) Given the sources of all pictures, data etc. that are not my own Not made any use of the essay(s) of any other student(s) either past or present Not sought or used the help of any external professional agencies for the work Acknowledged in appropriate places any help that I have received from others (e.g. fellow students, technicians, statisticians, external sources) Complied with any other plagiarism criteria specified in the Course handbook I understand that any false claim for this work will be penalised in accordance with the University regulations Signature: Name (Please PRINT): SARAH HAMMOND Date: 22/06/2009 The Iconography of the Etruscan Haruspex by Sarah Naomi Hammond MSc by Research, Archaeology The University of Edinburgh 2009 Word count: 25,000 Abstract The religious rituals of the Etruscans incorporated several forms of divination including the practices of extispicy and hepatoscopy, the arts of divining through the examination of sacrificed animal entrails, and specifically the liver. -
Rubens Met.Indd
������������������ ��������������� ����������������������� Lesson Plans | Rubens’s Metamorphoses | Language Arts | Grades 6–8 Rubens’s Metamorphoses | Language Arts | Grades 6–8 1 curricular connections class periods Language Arts, Creative Writing, 1 hour for introduction Mythology, Reading 1 week for writing activity concept lesson activity Many of Rubens’s oil sketches and paintings depict myth- materials ological stories. Rubens was a great lover of the classics, so it is certain that he was very familiar with the ancient Ovid’s “The Story of Leucothoe and the Sun” from the Roman poet Ovid. In his oil sketch Clytie Grieving, Rubens Metamorphoses captures a powerful scene from Ovid’s Metamorphoses Image of Rubens’s oil sketch Clytie Grieving entitled “The Story of Leucothoe and the Sun.” Reading Art Worksheet Paper In this lesson, students will participate in a focused Pencils Reading Art activity looking at Rubens’s oil sketch Clytie Drawing materials Grieving. Students will then read the portion of the Meta- morphoses that tells the story of Clytie. As a culminating activity, students will write a myth of their own. Students teacher preparation will choose one powerful moment from their poem and illustrate it, as Rubens did with Clytie Grieving. 1. Download and print class set of the oil sketch Clytie Grieving. objectives 2. Download and print background information on Clytie Grieving. Students will participate in a focused Reading Art activity 3. Print class set of Ovid’s “The Story of Leucothoe and looking at Rubens’s oil sketch Clytie Grieving. the Sun” (pp. 5–6 of this guide). Students will read the portion of the Metamophoses that 4. -
SIUSLAW MIDDLB SCIIOOL 2525 Oak Street I Florence, Oregon 97439 I Phone (541) 997-8241 0 Fax (547) 902-7478 School Website
SIUSLAW MIDDLB SCIIOOL 2525 Oak Street i Florence, Oregon 97439 I Phone (541) 997-8241 0 Fax (547) 902-7478 School Website - www.siuslaw.kl2.or.us "Home of Motlaatlng and. Prepørlng All Students to Reøch Thelr Greqtest Potentlq.l the Vikings" Andy Marohl, Principal I Darci Stuller, Asst. Principal r Sarah Girard, Counselor April 30th,2020 Dear Student, We hope this letter finds you well! Siuslaw Middle School wanted to let you know that we appreciate all of your hard work while you are away from school. We wanted to let you know that to acknowledge what you are doing, that each week when you return your work, your name is put into weekly prize drawing. If you win, we will mail out your prize in the next homework packet. Keep up the good work!! Sincerely, Sarah Girard School Counselor Siuslaw Middle School [email protected] 2.or.us Dedlcated. to Success¡for AII Students SIUSLAW MIDDLE SCHOOT 2525 Oak Street 0 Florence, Oregon 97439 l Phone (541) 997-8 241Ö f a (541) s02-7478 School Website - www.siuslawkl2.or.us Motio atíng ønd, P r ep anng All Students to Reøch Their Gr e atest P otential Andy Marohl, Principal *Darci Stuller, Vice Principal Sarah Girard, Counselor lJeromy Graybill, Athletic Director Elective Forecasting Sheet 2020 -2021 School Year Name:___ Last Name First Name Student ID # (lunch number): Grade Next Ye The following are Core Classes. All students for each grade take the following: Language Arts Social Studies Science Mathematics Physical Education Exploratory Rotation, Advisory *Siuslaw Middle School has a lot of new electives this year. -
Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century Bce
ARCHAEOLOGICAL AND LITERARY ETRUSCANS: CONSTRUCTIONS OF ETRUSCAN IDENTITY IN THE FIRST CENTURY BCE John B. Beeby A dissertation submitted to the faculty at the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Classics in the College of Arts and Sciences. Chapel Hill 2019 Approved by: James B. Rives Jennifer Gates-Foster Luca Grillo Carrie Murray James O’Hara © 2019 John B. Beeby ALL RIGHTS RESERVED ii ABSTRACT John B. Beeby: Archaeological and Literary Etruscans: Constructions of Etruscan Identity in the First Century BCE (Under the direction of James B. Rives) This dissertation examines the construction and negotiation of Etruscan ethnic identity in the first century BCE using both archaeological and literary evidence. Earlier scholars maintained that the first century BCE witnessed the final decline of Etruscan civilization, the demise of their language, the end of Etruscan history, and the disappearance of true Etruscan identity. They saw these changes as the result of Romanization, a one-sided and therefore simple process. This dissertation shows that the changes occurring in Etruria during the first century BCE were instead complex and non-linear. Detailed analyses of both literary and archaeological evidence for Etruscans in the first century BCE show that there was a lively, ongoing discourse between and among Etruscans and non-Etruscans about the place of Etruscans in ancient society. My method musters evidence from Late Etruscan family tombs of Perugia, Vergil’s Aeneid, and Books 1-5 of Livy’s history. Chapter 1 introduces the topic of ethnicity in general and as it relates specifically to the study of material remains and literary criticism. -
Etruscan Women and Social Structure
ETRUSCAN WOMEN AND SOCIAL STRUCTURE © 2011 Max Dashu Etruscan culture was a fusion. It mixed ethnicity and non-Indo-European language from Asia Minor with ancient Italian lines. People wore boots with turned-up toes like the Hittites and Hurrians. Their art was influenced by Crete, Phoenicians, Cypriots, and Greeks. Its paintings followed the Kemetic gendering convention, by way of Crete and Greece, of red-brown men and lightskinned women. Etruscan tombs included neo-megalithic elements related to Corsica and Sardinia. Temples had smooth painted columns modeled on Cretan and Mycenaean precedents, while other elements aligned with contemporary Greece and the extensive terracotta rooftop figures were unique to Etruria. Right: the Etruscans adopted Kemetic conventions of gendered color coding, men red-brown and women light or golden Classical Etruscan society was class-ranked, with aristocrats, not much of a middle class, and etera or lautni. These words are misleadingly translated as servi or familiae, Latin words for slaves. A better word would be clientela, since the lautni “had property rights” and could ascend socially, including marrying into the ranking family. [Heurgon, 1959, 32-33] The difference between ladies and servants “is not always particularly marked” in early Etruscan art. [Haynes, 132] So there are sharp differences with later Roman slavery. Etruscan women, whether married or unmarried, were famously free. Sarcophagi display their aura of complete self-confidence, and the affection of their male partners. They who took part in public events, participated in councils and in nude athletics. The liberty of Etruscan women was notorious among the Greeks and Romans, who were scandalized at the liberty they enjoyed. -
L31 Passage Romulus and Titus Tatius (Uncounted King of Rome
L31 Passage Romulus and Titus Tatius (uncounted king of Rome) are gone Numa Pompilius is made the second king Numa known for peace, religion, and law Temple of Janusdoors open during war, closed during peace; during Numa’s reign, doors were closed L32 Passage Tullus Hostilius becomes third king (mega war) Horatii triplets (Roman) vs. Curiatii (Albans) Two of Horatii are killed immediately; Curiatii are all wounded Final remaining Horatius separates Curiatii and kills them by onebyone Horatius’ sister engaged to one of the Curiatii; weeps when she sees his stuff; Horatius, angry that she doesn’t mourn her own brothers, kills her L33 Passage Tullus Hostilius makes a mistake in a religious sacrifice to Jupiter Jupiter gets angry and strikes his house with a lightning bolt, killing Tullus Ancus Marcius becomes fourth king Ancus Marcius is Numa’s grandson Lucumo (later Lucius Tarquinius Priscus) moves from Etruria to Rome to hold public office at the advice/instigation of Tanaquil While moving, eagle takes his cap and puts it back on Lucumo’s head Tanaquil interprets it as a sign of his future greatness throws Iggy Iggs parties, wins favor becomes guardian of the king’s children upon Ancus’ death L34 Passage Lucius Tarquinius Priscus makes himself fifth king Servius Tullius is a slave in the royal household Tanaquil has a dream that Servius’ head catches on fire She interprets as a sign of greatness LTP makes Servius his adopted son hire deadly shepherd ninjas to go into the palace and assassinate -
Sea Scenarios
SEA SCENARIOS ellas is said to be a land of a thousand islands, so warbands Determine the Scenario: The player in the Sea realm rolls a d6. often must necessarily travel by sea in pursuit of their For each battle that the player has won since his warband has been Hgoals. A warband that has entered the realm of the Sea has at Sea, the player adds 1 to the result. If the player’s last battle was loaded their men, horses, and equipment into penteconters – small a loss, the player subtracts 1 from the total. The final result is the warships with a single sail and fifty oars. In these ships they sail the player’s Scenario: waters of the Middle Sea, travelling ever further from their homes 1. (or less) Fresh Water in the city-states of Hellas. Each Sea Scenario represents an en- 2. The Hostage counter on one of the islands where the warband stops to resupply, 3. Shipwrecked and some even contain valuable Clues to be found that will guide 4. Defend the Ship them closer to their goal. The Scenarios are organized by number, 5. Safe Passage with the lower numbers representing early encounters close to the 6. The Isle of Torment safe waters of home, and the higher numbers are distant, mysteri- 7. Isle of the Cyclopes ous islands with strange and dangerous inhabitants. 8. All Men Are Pigs 9. Isle of the Lotus Eaters The Beach: In practical terms, the main difference between Land 10. Beyond the Pillars of Heracles and Sea Scenarios is that the Sea Scenarios always take place next Once a player progresses to Scenario #10 and wins, the player’s to the ocean – one table edge will always represent a beach.